The Brooklyn, Bronx, & Queens Band, simply known as the B.B.& Q. Band, wasn’t really a “band” in the traditional sense of the word, but a studio project — one of a number of the Jacques Fred Petrus braintrust, which was best known for the studio outfit Change (whose hits with Luther Vandross in front, “The Glow Of Love” and “Searching” finally led to the famous singer’s solo career). Of those drafted by Petrus, Malavasi and Co. B.B.& Q. was sort of the “B” group, as it tended to have more of an attitude than the Chic-esque Change, but also had a very similar sound. At first, the only differences between Change and B.B.& Q. were the lead singers. For their 1981 inaugural album, Petrus had assembled a “touring band” made mostly of New York musicians, whose photos appeared inside the album covers, and who also appeared on TV to give the band a “face”. None of that group contributed to the actual recordings, for the most part. This group, fronted by Paris “Peewee” Ford, was torn down and rebuilt for their second release in 1982, All Night Long.

After their first two albums, like Change was allowed in 1983 with their album This Is Your Time, the “touring” lineup of the band actually had more input in the produced album than ever before. Mauro Malavasi, the keyboard player, whose sound was a heavy component of the Petrus braintrust works, was nowhere to be found on this album, save in the writing credits of the album’s opener, “Keep It Hot”, a song which had a heavy dose of that New Wave influence that was creeping into R&B and funk records with records like Cameo’s Alligator Woman and Prince’s Controversy.

In place of Mauro Malavasi’s usual dominance was Kevin Robinson, the guitarist and lead vocalist for this new version of the B.B.& Q. Band. Robinson wrote 5 of the 8 songs, including the scorching “Stay”, a perfect marriage of Minneapolis-inspired synth funk, the erstwhile synth funk coming out of players like Kashif in the New York scene, and vocoder vocals that never cease to amuse. Certainly it sounds like something after Dr. Claw’s own heart. Also included is a strange cover of the Beatles’ “She’s A Woman”, and the very Princely “We’ve Got To Do It”. Plainly put, this album doesn’t pack the punch of the albums prior, or even the one following (more on that one in future entries), but it isn’t as poor as its initial reception seemed to indicate. That it did well enough to get a proper remaster and reissue some years ago should be proof enough of its worth.